Car Art

April, 6 1936: A tame swan named Leila is given a lift in the back of a car. (Photo by Fox Photos/Getty Images) As an authorized Getty Images Gallery...

1641. Etching on cream wove paper, 5 1/16 x 7 11/16 inches (128 x 195 mm), narrow margins. Printed 19th century on a remainder which has a partially trimmed, printed image of a Virgi...

"1959 Alfa Romeo Giulietta" 2024 Oil on panel 16 in x 20 in Framed in pine floater frame Experience the timeless beauty of the 1959 Alfa Romeo Giuliet...

ANTON SCHUTZ MANHATTAN c 1940 Etching, signed in pencil, edition 100, no. 15/100. On thin simili-japan paper. Very slight toning around plate mark. Remnants of old tape on verso, s...

Children on Clinton Street, 1986 by Tria Giovan From a 6cm x 4.5cm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 A...

Cities 7 - Gothic Revival, St Pancras, London by Susan Brown. Limited edition giclée print - The print edition is 150 The image size of the print is 40cm X 40cm, the overall size is 50cm X 50cm Each print is signed and numbered by Susan Brown Unframed, unmounted. The gothic building of St Pancras, designed in 1874 by George Gilbert Scott...

Medium: pochoir. Printed in Paris in 1932 on Velin du Marais paper at the atelier of Daniel Jacomet for the Les Joies du Sport portfolio and issued in an edition of 750. This was pub...

Fine Art Print, limited editions.

'Cafè Cars' 1981 by Alain Le Garsmeur Limited Edition Archival Pigment Print Taxis outside a cafe in Tegucigalpa, Honduras, Central America, 1981. Paper size : 40x30 inches / 101...

Essex: c1899. Etching with aquatint on cream wove paper, 7 1/2 x 12 1/4 inches (190 x 310 mm), full margins. Signed and titled in pencil in the lower margin. In very good condition w...

Angel is a unique painting by contemporary artist Guillaume Chansarel. The painting is made with ink and acrylic on old book pages mounted on canvas, dimensions are 65 x 92 cm (25.6 ...

About Painting: My husband and I photographed this gorgeous lady in 2018 when we took a trip to Maranello, Italy to visit Ferrari. It was such a treat to see this amazing vehicle tha...

* No US duty or taxes to pay on this item * A very quirky mid 20th century Modern British oil on canvas depicting the Royal Albert Hall in Kensington, London. Very nice quality and ...

Paper Size: 23 x 35 inches ( 58.42 x 88.9 cm ) Image Size: 22 x 34 inches ( 55.88 x 86.36 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Deta...

James Dean Behind the Wheel in his Porsche Racer by Globe Photo Archives FIlm star James Dean behind the wheel of his Porsche racer. James Dean ...

This photograph, taken in 1952, depicts the Place de la Concorde in Paris, France. The scene captures a busy urban atmosphere with classic cars typical of the mid-20th century lining...

An impressionistic depiction of a figure in the snow with cars and buildings in the busy City Streets. The Empire State Building is portrayed in the background as the snow filled str...

Cover of The Saturday Evening Post Magazine, February 6, 1960 Caption: "The Cover: Artist John Clymer takes you to the summit of Washington state's Snoqualimie Pass, where they seem to have had a few snow flurries lately. Up there the moist westerly winds bump against sky-reaching peaks of the Cascade Range, with the result that the winds spill their contents before whistling dryly on down across the eastern slopes. Thus residents of places like Seattle living in a relatively balmy clime beside the Pacific's mild Japan current, can drive in an hour or two up to where skiing material is sometimes twenty feet thick if it's an inch. Indeed, when seasons overlap, a downlander might conceivably pick a rose and go skiing with it in his buttonhole. All of which, thanks to highway crews who blow off the blizzards, is a very felicitous geographic arrangement." John Ford Clymer's success as an artist can be traced to his boyhood in the Kittitas Valley located in the central regions of Washington state. It was there that he developed an enthusiasm for the world around him and an abiding respect for historical accuracy. Over the years John Clymer received numerous awards and honors including the revered Prix de West in 1976, from the national Academy of Western Art. Other great achievements included both gold and silver metals for his oils and charcoal drawings from the Cowboy Artists of America, "Western Artist of the Year" from the National Wildlife Art Collectors Society, and both John and Doris were honored at the Ellensburg National Art Show and Auction for their contributions to western heritage. John's highest honor came in 1988 when he was awarded the prestigious Rungius Medal from the Wildlife of American West Art...

Palm Beach Street - Classic Automobiles Palm Trees Vintage Street View Landscape by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later...

Signed, titled and dated in pencil on print verso.

An Irish Waterfront saloon from 1868 on 11th Avenue in Manhattan, still going strong! From my series on the oldest bar/taverns in Manhattan. I liked the moody grey feel to the day ag...

"Flooded Road" by J. A. Hampton A pedestrian attempts to leap across a flooded road near Hyde Park in London, 3rd August 1939. Unframed Paper Size: 40"x 30'' (inches) Printed 2022 ...

'Green Door, San Francisco' is an Archival Inkjet Print by photographer Morgan Silk. Green Door, San Francisco by Morgan Silk is available in this size of 17" x 23" in an edition o...

Richard Heeps' Dream in Colour Series beautifully captures 1950's chic, the nostalgic vibe and warm colours are incredibly seductive. This artwork is a limited edition of 25, gloss ...

A beautiful 18th century nautical scene filled with movement and activity. One etching from the series of 10 lively nautical scenes entitled Seascapes. This image depicts four vesse...

This 1992 original poster celebrates 80 years of Bertone (1912-1992), the legendary Italian design house known for its groundbreaking automotive creations. The poster prominently fea...

Oil on canvas Canvas size: 13 x 18 inches Framed size: Signed lower right

Artist Comments
A street in Chicago comes alive on a rainy afternoon. The wet pavement reflects the city lights, creating a shimmering effect as cars and pedestrians move thr...

Title: London Café Scene Delice de France with Diners and Red Awnings Street Study By Tony Herbert (1927-2024) Signed: Bottom right corner Medium: Watercolor on paper, unframed Size: 11.25 inches (height) x 15 inches (width) Condition: good, will some signs on wear consistent with aging Provenance: From a large private collection of this artists work, Oxford, England Description: This dynamic watercolour by Tony Herbert (1927–2024) captures a lively street café scene outside a branch of Délice de France, with groups of figures seated at outdoor tables under red and blue awnings. While the signage and atmosphere appear distinctly French — with Patisserie Française printed along the canopy and wicker café...

Charles Fazzino 3d Pop Art Signed And Numbered “City of Love”. In good condition

"The Celebrated Clipper Ship Dreadnought" is an original hand-colored lithograph by Currier & Ives. It depicts a sailing ship. 13 1/4" x 17 1/2" art 19" x 23 1/2" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Vintage Photo. The Italian Actress Valeria Golina in a scene from the movie "Love Story" by Francesco Maselli.

Milan Cathedral The duomo or cathedral in the Piazza del Duomo, Milan, 1960. Paper size 50 x 50 / 127 x 127 cm Estate Stamped Collection Edition to 150 Photo by Slim Aarons P...

Richard Stalter A Day in New York City, circa 1980 Signed lower right Oil on board 9 x 12 inches Richard Stalter was born in Dayton, Ohio, on April 27, 1934. He developed an intere...

Shan Fannin's (US based) "1959 Cadillac El Dorado" is an limited edition giclée print that depicts a close up view of the baby blue fins and taillights o...

estate stamped, numbered, and signed by the Estate Representative Oliver Halsman Rosenberg Archival Pigment Print 16x20 Edition of 50

Göta Lejon, 1746. by Louis Letouche (French 1924-2015) oil painting on linen canvas, stretched over board framed Framed size: 15 x 21.75 inches Superb oil painting by the well lis...

Donald Leas April 1968: Mr and Mrs Donald Leas with their Rolls Royce and two pet dogs outside The Flagler Museum in Palm Beach, Florida. 60x60” / 152 x 152 cm - paper size Es...

Wonderful set of four original pencil drawings depicting vintage motor cars from the 1930's. They are an ideal gift or interior furnishing for any 'man cave' or 'boys room' - or fo...

This contemporary, realist, interior, oil on canvas painting is by Ukranian artist Dmirty Yuzefovich. Cherished memories from his childhood growing up in Ukraine often become the sub...

On the Road, reimagines classic Richard Heeps artworks presented with full film rebate almost like a blown up contact sheet. This set of six framed ready to hang artworks feature: Lone Pine, California, 2000 Honeymoon Hideaway, Palm Springs, California, 2002 Space Age Lodge, Gila Bend, Arizona, 2001 Anita, Lade Fen, Welney, 1993 Dot's Diner, Bisbee, Arizona, 2001 Sun Kissed Wendy, Las Vegas, 2001 Each individual framed artwork measures 23.5" x 27.5". They can be hung together as a set or spaced out throughout your interior. Each artwork is a limited edition of 25 gloss photographic print, dry-mounted to aluminium, presented in a museum board white window mount and a choice of black or white box frame fitted with anti-reflective UV70% glass, signed and numbered on reverse accompanied by a certificate of authenticity. Handmade to order. They make take more than 10 days to frame. They are available in other sizes and can be purchased individually and in other combinations. “Richard Heeps' seductive, highly-saturated colours and sophisticated pictorial structures demonstrate a true love and empathy for this subject matter – be it cool, descriptive interiors, still life or landscape.” His distinctive style pushes the limits of photography. The collectable and affordable, hand-printed colour photographs combine the best in traditional processing with the latest archival products – from photographic paper to mounting with a 100% cotton museum board. His artwork has been bought by many international collectors. Exhibitions Include: Royal Academy of Arts London, Photoville Brooklyn, The Photographers Gallery London, The Spitz Gallery London, Kettle's Yard Cambridge, Norwich Arts Centre. The Civic Centre Thurrock, 20-21 Visual Arts Centre Scunthorpe, Rochester Art Gallery, Preston Hall...

'Model T and Garage' was taken in the small historic town of Daggett in the Mojave Desert on Route 66. This artwork is part of Richard Heeps' 'Dream in Colour' series, which document...

Richard Heeps photography captured in the iconic home of speed, Bonneville Salt Flats. This listing is for 2 x Richard Heeps artworks. 1. Ferguson Racing Streamliner 2. LSR Streamli...

Hotel De Paris In Monaco 1977 By Slim Aarons The entrance to the Hotel de Paris in Monte Carlo, Monaco, June 1977. (Photo by Slim Aarons) 30 x 40" inches / 76 x 101 cm paper size ...

Artwork # 1 on 5 sold in limited edition in perfect condition This photo was made in 1956, the negative was digitized during the artist's lifetime and the technical parameters (fram...

Artist: Unknown Title: University Floral Design Medium: Watercolor on paper, signed lower right Image Size: 17.5 x 25 inches Frame Size: 28 x 35 inches Street scene watercolor by an...

A gelatin silver print, 16" x 20", signed print (verso) by the photographer, School Bus, New York City, 1954 is a black-and-white photograph, capturing Jew...

This (Street Scene) is undoubtedly O'Callahan's hometown of Buffalo, NY, where he lived and spent most of his career. The artist's name appears in pencil at the bottom edge on the re...

NY CITY LIGHTS. Evening. :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Yes :: Sig...

Paper Size: 28 x 22 inches ( 71.12 x 55.88 cm ) Image Size: 21.25 x 20 inches ( 53.975 x 50.8 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: This is an original poster featuring the award-winning photograph by Nina Leen...

"The New Steamship Cephalonia, of the Cunard Line" is an original hand-colored lithograph by Currier & Ives. It depicts a large sailing steamship. There is a significant stain in the artwork in the upper center. 12" x 16 3/4" art 21" x 26" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Kristine DeBell is a  vintage photo, realized by Helmut Newton in the 1970s. The artwork represent fashion model and actress in 1970s. 

Richard Haas is the world's foremost architectural muralist. He was profile by CBS News Sunday Morning Arts program with Jane Pauley Richard Haas Times Square at Night (Empire and Lo...

Medium: Pencil on paper Size: 10 inches (height) x 7 inches (width) Signed: Yes Condition: Good condition Provenance: From the artist's estate Description: This pencil drawing by K...

John Austin Hanna Born 1942 Fredericksburg Artist Image Size: 24 x 48 Frame Size: 28 x 52 Medium: Oil on Canvas Mercedes Benz 300SL "Gullwing" Coupe Ralph Lauren's personal vehicle Biography John Austin Hanna Born 1942 John Austin Hanna - Fredericksburg, Texas John graduated from Texas Tech University with a degree in Advertising Art & Design. As a 20-year illustrator in New York and Dallas he has been published in several magazines such as Automotive Quarterly, Car and Driver, Saga, Town & Country, Flying, Popular Boating, and Popular Science. He has also done work for several large corporations such as Mercedes, Volkswagen, Bell Helicopter, Lockheed Martin, Borden’s, Pearl Beer...

Original post impressionist oil on canvas painting of the landmark Cafe Weber in Paris by C.H. Duval. Circa 1950. Signed by the artist lower left. Condition is excellent. Titled and signed again verso on top left wood stretcher. The painting is housed in its original gold over wood frame in fine condition. Overall framed measurements are 20.75 by 24.75 inches. Cafe Weber was located on Rue Royale near Le Madeleine and adjacent to the outdoor flower...

'God Speed Good Year', captured in the iconic home of speed, Bonneville Salt Flats. The bold graphic 'God Speed Good Year' contrasts in size against the vast...

Elizabeth Taylor Spinning Lasso in "Giant" by Globe Photo Archives This black and white action shot features actress Elizabeth Taylor swinging a...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Pont d' Arcole ‘, a bridge of Paris, Fr...

White Sandy Beach near to the Isle of Skye in the Scottish Highlands by Leading Contemporary British Artist, Angela Wakefield Art measures 30 x 20 inches Frame measure 36 x 26 inc...